With regard to the recent observation on the tamari effect, i.e. the slight
spreading of the ink around the edges of fine detail,it brings up two questions
for me.
One, then how did the printers of old get such incredible detail, from
mosquito nets to hairlines without bleeding?Part of the answer I know is boxwood
inserts in areas of fine detail.
Two, does anyone have much experience of oiling or shellacing, or other
blocks at any stage of the carving? If you shellac them before the carving, the
end grain is still left exposed after they have been cut. Can they be sealed
after the carving? What did the printers of old, or present day printers do?
Anyone know?
Paulk de Jode, Boulder Co.
> With regard to the recent observation on the tamari effect, i.e. the
> slight spreading of the ink around the edges of fine detail,it bring
> up two questions for me.
> One , then how did the printers of old get such incredible detail,
> from mosquito nets to hairlines without bleeding?
- we use _hard_, close-grained wood, which absorbs much less water
- we don't use 'sloppy' wettish pigment mixtures
- we don't 'jam' the baren down too hard ...
- we brush out the pigment with a great deal of delicacy
- we treat our brushes on sharkskin to get the tips drawn out finely
I'm using 'we', 'cause I guess I can call myself a 'printer of old' ...
:-)
> Two,does anyone have much experience of oiling or shelllacing, or
> other ,blocks at any stage of the carving?
In the traditional methods over here, the block is never coated with
anything. Modern printmakers - using shina plywood - _do_ go in for
various coatings, either for sealing, for blocking out the staining
from a run of prints with a different colour, or for special effects of
whatever kind.
The other day Mike talked about moisture absorption through the cut-off
'side-bevels' of a colour block, and I sometimes have trouble with
this. You get a dark 'halo' around a printed zone, even when the
pigment has been applied moderately.
When I get this, I simply take some white glue and use it to seal off
these 'side-faces', being very careful not to let any smears of glue
get onto the actual printing surface of the wood, as it would affect
absorption and spoil the smooth application of the colour. Once the
glue is dry, a block treated this way will print _very_ cleanly. I now
do this on the two side edges of a sky block as a matter of course even
before printing starts.
Dave